Even though the script for Amadeus won every possible award—the Tony in 1981 for Best Play (also best actor, scenic design, costumes and lighting, plus director) for the original New York production, and best revival award in 1999-2000, not to mention the Oscar in 1984, Golden Globe in 1985 and the BAFTRA award the following year--possibly the Oscar for best writing based on material from another medium’ unleashed this constant need to change things. But different is, unfortunately, not always better.
For whatever reason, Peter Shaffer cannot resist making further revisions to his original marvelous playscript. It has apparently become his ‘unfinished script’. The version of this remarkably dramatic saga currently being staged by GLTF is reported to be the sixth such by Mr. Shaffer. It is perhaps half an hour longer and talkier than the original. If we might prefer an earlier version of his script, he would certainly be unable to find even a minute flaw in this production. Directed by Gordon Reinhart, it is dramatic and engaging, in spite of its wordiness.
Antonio Salieri had tried to live a Godly life, abstaining from the seven deadly sins, all of which Mozart seemed to embrace with great joy. But, as we all learn eventually, life is seldom fair, and Mozart possessed more genius in his little finger than did Salieri in his entire body. And while Salieri could barely tolerate Mozart the person, he could—and did—recognize the genius and imortality of Mozart’s music.
Andrew May as Salieri is on stage, emoting, to himself or to the audience, for virtually every moment of the nearly-three-hour long play. It is an astonishing performance in every way, the more so because he isn’t busily making a fool of himself for our enjoyment. Salieri is a sober, serious persona.
Ben Nordstrom is Mozart—gauche, uncouth, silly, earthy—every possible opposite to the sophisticated Salieri, including talent-wise. Kathryn Cherasaro as Costanze is the perfect foil for Mozart; youthful and silly, but with a sensible streak underneath, which Mozart did not possess. But then, he’d never needed to, as his Papa Leopold had always taken care of such details. Young Mozart had never had to grow up, so, much like Peter Pan, he never did.
Scott Plate and Nick Koesters are marvelous as the Venticelli, Salieri’s ‘Little Winds’ who go out and about in Vienna, returning home with all the gossip which then hisses throughout the theater from hidden speakers. At times, with their master, they form a Chorus, symbolizing the factor of ‘three’ that is everpresent in Mozart’s music.
Dougfred Miller is the Emperor of Austria, Joseph II, who admonishes Mozart with two of the more humorous lines in the play. “Too many notes,” he scolds in one scene. “A little less enthusiasm” he grumps in another.
Awash in gold lights and gold furniture, all the characters wear (for the most part) clothing made of cloth of gold, or shades of peach or coral that nearly match. The effect is not just rich looking, it is also beautiful to behold. When Costanze appears in her black mourning garb it is a shock.
Gage Williams designed the multi-purpose set and costumes are by Ann Hoste. Lighting is is by Michael Klaers and the gorgeous sound by Stan Kozak.
Amadeus is certainly worth seeing; it hasn’t been done locally for a good many years. It will play in rep with As You Like It (which opens on October 1) through October 22. It’s just unfortunate that the playwright didn’t heed the impulse of his creature, the Emperor, but in this case, “too many words!” For tickets to either of these productions (or other information) visit the web-site: http://www.greatlakestheater.org or call (216) 241-6000.
From Cool Cleveland contributor Kelly Ferjutz ArtsWriterATAdelphiadotnet (:divend:)